University-level classrooms have seen a massive transformation from instructor-led to studentcentered education, with many courses adopting project-based learning as an effective learning approach. As students become key actors in leading their courses, it is necessary to have highlevel intrinsic and extrinsic motivation. In the search to enhance student motivation using project-based learning, this article proposes a framework based on self-determination theory, including various indicators of the level of students' motivation for learning. In particular, the framework was applied to explore the effectiveness of employing social media, such as Facebook, to increase student motivation. The results of this study demonstrate the usefulness of employing social media to amplify students' will to learn. This article reports on the results of action research in creative media design courses where students were required to develop an e-portfolio through Facebook. Eleven indicators (autonomy, confidence, eagerness to learn, high performance, independence, enjoyment, self-efficacy, sense of achievement, sense of belonging, sense of engagement, and sympathy) were used to measure motivation. As a result, this study argues for the conditional use of social media in project-based learning classes.

A World Wide Web-based course at Winona State University (Minnesota) in the history of modern Germany , offered during the 1997-98 academic year, showcased several teaching innovations. Taught in "studio mode," with a workstation for each student, the course combined seminar discussions with electronic communication via e-mail and listserv. HTML "commentaries" for each class replaced traditional lectures. Most course reading was available online through access to the J-STOR database. Students learned electronic research skills in the process of searching out and analyzing course-related Web sites. This paper begins with an introductory section that lists the advantages of Web-based courses and outlines seven principles for good practice in undergraduate education. The second section discusses course design considerations, including the constructivist themes of active learning, individualization, cooperative learning, critical thinking, contextual learning, and learning to learn. Classroom technology is addressed in the third section. The fourth section describes the course, including links to other Web sites, the ability to access reserve readings, and assignments. Course design and production are covered in the last two sections, including hyperlinks, transition from text-based to HTML format, cost, and faculty role. It is concluded that creation of Web-based courses demands significant effort, but the payoff is great. (AEF)

Creative industries emphasize human creativity and intellectual abilities. Studies found that most organizations in China’s creative sector failed to establish appropriate motivation strategies that are conducive to creative performance. This study is a cross-disciplinary study, which investigated the organizations’ management and designers’ behaviour in China’s creative industries with mixed methods to answer the research questions. The results lead to a deeper understanding of designers’ needs for motivation and a tangible motivation model for business management to imply. A conceptual framework has been developed as the basis of this research. 41 in-depth interviews were conducted for collecting information about the current motivation methods in China’s creative industries, and their effectiveness. These interviews also revealed the actual needs of designers through finding out their preferred motivators. 396 valid online questionnaires were received from managers and designers to further measure the perceived priorities of the motivators found in the in-depth interviews. The results indicated the current motivation methods focused on extrinsic motivators, while designers in China valued both extrinsic motivators like monetary rewards and intrinsic motivators like recognition. It also revealed the current management strategies are less effective in motivating designers. It discovered that management strategies in China’s creative industries lack awareness about their designers’ needs. This investigation leads to the discussion about the immature ecosystem of the creative industries in China and its influence on their development. This research is an original study that enriched knowledge of the creative behaviour, which identified the key motivators of designers in China and formed a model as advice to the management and policy-makers in creative industries. They can also benefit from this understanding and gain a better insight into motivating creative employees through appropriate motivation strategies.

As one of the key components in design discipline, Design Thinking has regained its popularity in the last decade (Dunne & Martin, 2006; Cooper, Junginger & Lockwood, 2009; Kimbell, 2011). However, this did not occur in design schools or in design professions; rather, it occurred in other disciplines—like business. Some business schools and business organizations consider Design Thinking an effective method or process to generate innovative solutions for resolving complex or wicked problems (Davis, 2010; Dorst, 2011; Glen, Suciu & Baughn, 2014). Whether they be for-profit or non-profit, many organizations also use the Design Thinking process when making strategic decisions or solving problems. In order to solve a problem in an efficient and effective manner, traditional thinking and cognitive studies suggest the prevailing way to solve a problem is to follow an orderly and linear process that work from the problem to the solution. The logic starts by understanding the problem through analyzing the problem situation. After identifying the definition of the problem, one can formulates some possible solutions. The optional solutions are evaluated and the best will be chosen to implement and transform the situation to the specific goal. Keywords: Design Thinking, Traditional Problem-solving, Creativity, Wicked Problems

This article examines the aspects and implications of nostalgia and historical nostalgia in animated films, based on the case study of the 2001 Hong Kong animation My Life As McDull, directed by Toe Yuen. The investigation includes three components: a discussion around the notion of historical nostalgia, a survey of professional animators with the audience’s expectations and its perception of animated films, and an analysis of the mechanisms the movie utilizes to address the concepts of shared memory, local culture and sense of identity. The paper establishes connections between the animation’s visual elements, the notion of positive memory, and their socio-cultural implications. The results present data findings, as well as an analysis of the cinematic effects of conceptual and aesthetical processes to induce nostalgia through storytelling, concluding with their cultural and social resonance.